2003 - What's in a name?

A Message from the Artistic Director

"What's in a name?" Nothing and everything. It's true, as Juliet says, "that which we call a rose, by any other name would smell as sweet," — but Cassio's words from OTHELLO ring true as well: "reputation, reputation, reputation...the immortal part...of myself..."

In February, New Jersey Shakespeare Festival officially change its name to The Shakespeare Theatre of New Jersey. We are the same institution; our mission, programs and the essence of our work are all intact, but much has changed here since I arrived in late 1990. Thirteen years ago, we were a small company struggling to reinvigorate, reinvent, rebuild a reputation, and grow. We have done all that and more! We are still a "rose," but of a different hue; and our new title is not only an emblem of that transformation but, hopefully, a change that will allow the public's perception of us to transform as well.

We determined that the word "festival" has been skewing the public's perception of who and what we are. To those who don't know us, our company is often misperceived as a short term, seasonal "event."

Now, in our 41st season of continual operation, we are one of the largest and most acclaimed Shakespeare theatres in America, the oldest on the east coast, with a company of nationally prominent artists. Our theatre is recognized as the place to go for Shakespeare in the state of New Jersey, and audiences are now coming from far beyond our state's borders as well. Our Shakespeare LIVE! touring company, one of our many education programs, reaches students throughout the region, from Pennsylvania to Conneticut. Those programs, in combination with our six annual Main Stage productions of classical masterworks, now connect with 100,000 people annually. Plus, as you may know, through our recent partnership with the College of Saint Elizabeth in Convent Station, we have added a second performance venue — the Outdoor Stage — where we are able to perform under the stars in a breathtaking and utterly unique 1,000-seat Greek amphitheatre, nestled atop the College's lovely grounds.

Add to this our desire to give Shakespeare "top billing" in our title, our pride in being a key player in New Jersey's remarkable cultural landscape, and you have The Shakespeare Theatre of New Jersey. The plays we produce are timeless, and by virtue of their unviverality are both the most elite and the least elitist plays of humanity's collected consciousness. As we endeavor to extend our reach, we hope that you, our audience, will help us spread the word — not only about who and what we are, but why — why we are the place to go, to revel in, and to support.

On a final, more somber note: as I'm sure you know, the arts in New Jersey have recently been placed on the "endangered species" list. It is vital that you voice your thoughts on the proposed budget cuts to our legilators and our governor — the arts are not a luxury; they are not a frivolous extracurricular activity. They are a necesity of any society that calls itself civilized. In addition to their immense intangible value, in this state alone the arts create and sustain aneconomic sphere of substantial impact — to the tune of $1.027 billion per year. To hearken back to Cassio's words, "reputation, reputation, reputation...the immortal part..." — how tragic it would be to go from being a state witha national reputation of having an exceedingly rich and varied cultural life, to a legacy of bein a state with none.

2003 Season Plays

Much Ado About Nothing

by William Shakespeare
Directed by Bonnie J. Monte

The battle between the sexes is rarely as lively — or as funny — as that between Beatrice and Benedick, who engage in a war of sharp wits, determined to convince themselves that they’re not in love. Foul deeds and desperate measures bring them together in this most sparkling and sophisticated comedy. The inimitable Benedick will be portrayed by Sherman Howard, who thrilled audiences last season with his powerful performance in Enrico IV. Broadway veteran Donna Bullock, last seen there in the Tony Award-winning Ragtime, debuts at The Shakespeare Theatre as the prickly and clever Beatrice, who foils Benedick’s (and her own!) commitment to single life. Mr. Howard and Ms. Bullock, real-life husband and wife, pair up for this delightful “mating dance.”

The Glass Menagerie

by Tennessee Williams
Directed by Robert Cuccioli

This semi-autobiographical account of the author’s early days in 1940s St. Louis mirrors the turmoil of his inner and domestic life with that of the nation, as World War II envelops the globe. Williams' haunting and poetic portraits of his mother, “Amanda Wingfield,” and his sister, “Laura,” have become icons of the American stage. In this beautiful, desperate tale of the author’s struggle to break free of the burdens of his past and present, we see the forces that formed Williams' brilliance as a writer; and we become privy to a world “lit by lightning” as well as the soft glow of fragile candlelight.

That Scoundrel Scapin

by Molière
Directed by Joe Discher

Hopelessly in love with ladies who don't meet their fathers' approval, a pair of starry-eyed suitors enlist the help of a mischievous servant, Scapin, who paves the way for true love while exacting his own revenge on two miserly merchants. In classic commedia dell'arte style, Molière's rollicking farce has been tickling funny bones with its comic hijinks since 1671. Perennial audience favorite James Michael Reilly returns to portray the wily Scapin, whose outrageous schemes will delight adults and children alike. Directed by Joe Discher, Molière's rollicking farce also features Tony Award nominee Robert LuPone.

King John

by William Shakespeare
Directed by Paul Mullins

Shakespeare's rarely performed and woefully underrated revisionist history of the king who was forced to enact the Magna Carta explores one of Shakespeare's great obsessions -- the nature of good government and the ethics of rule. Thirteenth-century politics prove as complex and unnerving as those of today, as the men and women of the Plantagenet dynasty manage to wreak havoc upon the nations of Britain and France -- as well as each other -- in epic fashion. This fascinating tale of the past provides sage cautionary messages for our own time.

Pygmalion

by George Bernard Shaw
Directed by Bonnie J. Monte

Eliza Doolittle, the downtrodden, cockney flower girl, is transformed by Henry Higgins into a dazzling society lady. Inspired by the ancient myth of Pygmalion and Galatea, Pygmalion, in turn, inspired My Fair Lady. This brilliant satire of middle-class morality, social distinctions and obsession with appearances is both enthralling and thought-provoking. Passion, marriage and personal relations are all examined under Shaw’s sometimes brutal, sometimes affectionate “microscope.”

Othello

by William Shakespeare
Directed by Scott Wentworth

One of the great tragic masterpieces from Shakespeare’s canon, this definitive study of the power of jealousy, insidious evil and innocent purity delivers a triangle of unforgettable characters — the tormented Moor, Othello; the consummate villain, Iago; and the guileless victim, Desdemona. This passionate, gripping drama remains one of the world’s most timeless and universal tales of love and betrayal. The Shakespeare Theatre of New Jersey welcomes back one of our most gifted Shakespearean directors, returning after a two-year stint with the Stratford Festival in Canada.

Funding for OTHELLO is provided by a grant from American Express Company.

A Child's Christmas in Wales

by Dylan Thomas
Directed by Robert Duke
Adapted by Jeremy Brooks and Adrian Mitchell

As always, our season finale is a holiday “gift” designed for the whole family. By popular demand, we’re reviving this enchanting musical, which once again features Andy Paterson in the role of young Dylan Thomas. This charming theatrical confection captures all the magic and wonder of holidays past, as seen through the eyes of a young boy. Lilting poetry and traditional Welsh music bring the true spirit of the season to life with simplicity, humor and beauty.
The Crew
Director - Robert Duke
Sound Designer - Steven L. Beckel
Costume Designer - Frank Champa
Dialect Coach - Gillian Lane-Plescia
Choreographer - Jennifer Paulson Lee
Production Stage Manager - Joe Lumia
Musical Director - F. Wade Russo
Lighting Designer - Shelly Sabel
Scenic Designer - Michael Schweikardt